Script VO

Aerial view of LA, daytime (flying over tops of buildings). Cut to closeup of subway train pulling out of the station, and Sydney strutting down the platform. Cut to Sydney swiping her access card to enter APO.

Jack: Two weeks ago, the man on the train, Kazu Tamazaki, severed ties with all known contacts, eliminated all means of communication. Vaughn: Any idea of where he's gone or why? Jack: Nothing. Our one link to Roman Vadik has dissapeared. Dixon: Any indication Vadik turned on Kamazaki? Sloane: All chatter says that Vadik is status quo. Sydney: So, Tamazaki is still all we've got. Dixon: All we had. He's gone. Sloane: Back to what we know. The Hazunaga Asian Museum in London. Sydney: Yeah, Nadia said he was arrested five years ago; break in. Vaughn: Was there a motive? Dixon: He was caught in the Shintaro sword exhibit. The shootout killed two of the MPs and one of his own men. Sydney: What was he doing? Sloane: Trying to steal the Shintaro sword...the most famous samarai sword outside of Japan, wanting to restore honor to the blade and his country. Vaughn: You've gotta be kidding me... Sloane: We may not have the means to contact Tamazaki, but I can see a way to get Tamazaki to contact us. Jack: Are you suggesting we fake a robbery of the Hazunaga?

Sloane doesn't answer.

Sydney: You think we should steal the sword. Dixon: That museum's one of the world's most secure. If this were my operation, there's only one man I would trust to get us in there...

Cut to Marshall, dropping a stack of paperwork into his inbox. He looks over at Weiss, whose desk is right next to his.

Marshall: Hey...You as depressed as I am? Weiss: Depressed about what? Marshall: Depressed about what!? Take a look around here. This place is a ghost town; I don't even know anybody here anymore.

An unknown CIA officer walks by and Marshall nods his head toward him to indicate, "See what I mean?" to Weiss.

Marshall: Sydney is gone...Dixon...Jack, Vaughn. The only guy we have left is Sark and that's only because he's in custody. I hate that guy, I mean, really, kinda scares...although I did go visit him...twice...just to see a familiar face. We had eggs. Weiss: Don't do that.

Cut to Marshall, carrying a briefcase, a thermos, a newspaper and a brown paper lunch bag to his car (which is a silver Mini Cooper). Suddenly, he is surrounded by unmarked cars with sirens. A man in a three-piece suit and tie gets out of a sport utility vehicle carrying a piece of equipment under his arm.

Man: Marshall Flinkman, you're under arrest for the misuse of government assets. Marshall (stammering): Misuse? What...? What did I misuse? Man: You had unauthorized computer equipment connected to the government monitors you have been provided. Marshall: Connected!? I don't understand...what did I have connected?

Man holds out the equipment from under his arm. It's an XBox with a controller. The man points to it with his other hand.

Man: Is this yours?

Cut to Marshall with black bag over his head as he's being led into APO by two men.

Marshall: Uh, it was for a mission, I swear! I just wanted to download some maps from MapQuest; I heard they were really good, of course, the CIA maps are much better...

The men pull the bag off of Marshall's head and walk away. In front of him is Sydney. Behind her is Dixon, Vaughn and Jack. He stares at them all in disbelief.

Marshall's face blooms into a huge smile and he leaps forward to hug Sydney. Laughing, he says:

Marshall: Syd! We're back!

CUT TO BLACK

L(O)NDON

Cut to establishing night shot of parliament building in London. Cut to two figures dressed in black running across the roof of a building. One stops running and drops a backpack, unzips and starts unpacking items. The other figure runs to what looks like a junction box.

(OS) Marshall: Merlin to team. Great; way to go, guys. Stay focused.

Cut to view of Syd's reacon (who is the one unzipping the bag), and then to Marshall and Dixon, who are in the surveillance van.

Dixon (to Marshall): They're focused.

Sydney turns on a pocket butane welder and starts heating up the bolt holding a vent grate to the roof of the building. Cut to Vaughn, who has opened the junction box.

Vaughn: Okay, Shotgun to Merlin. Tapping into surveillance.

Showing Vaughn connecting to circuit board and connects small screen to it. He flicks through a couple of camera angles, and then...

Vaughn: Okay, I can see it: the Shintaro Sword.

Cut to scene of sword. it is in a long glass/plexiglass case on a marble pedestal in the center rear of the room: the place of honor, so to speak.

Cut back to Syd. As the head of the bolt lets go, the rest of the bolt falls down into the vent, making loud metallic clanging noises as it goes. Syd and Vaughn exchange a worried look.

Syd: Outrigger, something fell down the vent.

Cut to security guard inside museum.

Guard: Security to control. Control Guard: What, Kenny?

Cut to Vaughn, listening to their chatter.

Guard: Check floor 2, would ya? I think I heard something.

Control guard checks feed (which is looped), and replies:

Control Guard: Nope, it's all clear.

Cut to Vaughn's relieved face.

Vaughn (whispering to Syd): You're still good.

Sydney carefully removes the grate and sets it aside. Just as she's about to go down the shaft, Vaughn says:

Vaughn: Hey. Good luck.

Syd gives him a small smile.

Sydney: Thanks.

Sydney crawls down into the vent and pulls the grate back over the opening. Cut to Marshall and Dixon in the van.

Marshall: How cool is this!? Stealing a sword so we can find a bad guy...in order to catch an even bigger bad guy? Come on...come on, you'd have never let us do this back at the CI...you know, when you were double-breasted, serious (in robotic voice) Robot Dixon...

Cut to Dixon. He is not amused.

Marshall: I mean...not that you were...authoritative...

Cut to Dixon, who is still not amused.

Marshall (who now looks distinctly uncomfortable): Sorry...

Cut to Sydney, crawling through the vent. Cut to Sloane, listening to the mission transition in his office in LA.

Cut to control guard, looking at monitor for sword room, and sees nothing amiss. Cut to closeup of sword. Cut to Sydney opening the grate in the Shintaro sword room. She takes out a gun and fires a dart with a wire attached into the far wall. Cut to Sydney, pulling herself along the wire. She is hooked to it with a pulley contraption. Once she has pulled herself over so that she is hanging in front of the case (her feet not touching the floor, obviously), she pulls out a spray can and sprays the entire top of the case with it. Then she cracks the glass/plexiglass with a high pitched sound machine. Note that although the top cracks, it stays together, much like bulletproof glass would. Carefully, Sydney reaches for the edge of the glass and rolls it up a little at a time until about 2/3 of the top of the case is exposed. She starts attaching a specialized magnetic contraption to the case. Cut to Vaughn's view of the sword room from his monitor, where he can see Sydney's progress. Cut back to the control guard's view of the monitor. Feed is still looped, so he sees nothing amiss. Sydney continues to attach magnetic contraption to the case. Cut to Marshall.

Cut to Vaughn, monitoring other camera angles in the museum. Cut back to Sydney as she prepares to lift the sword out of the case. Cut to Vaughn's monitor where he sees Security guard walking down the hallway toward Shintaro sword room.

As security guard walks closer, Sydney lifts the sword out of the box without setting off the alarm, thanks to Marshall's magnetic contraption. Cut to Vaughn, watching in panic as the guard turns the corner to enter the room. He enters the room to find the sword case empty. Sydney is hiding. From Vaughn's monitor, we see that Sydney is hiding just above the door in the mouth of the vent entry...right over the security guard's head. He looks around and then up just in time to get Syd's knee in the face, knocking him out. Out of his hand rolls a Coke bottle. Sydney watches helplessly as it rolls further and further...and into the part of the room that is rigged, setting of the alarm. The entry to the vent shaft suddenly closes.

Vaughn (watching on monitor): Damn it!

Cut to Syd, sheathing the sword onto her back and running for it. She bolts, and just makes it under a series of quickly shutting grate doors. She gets up, runs, and bolts through a back door just in time to flatten herself into the shadows as police cars rush by her.

Sydney: Phoenix to base. I'm in the east alley; I need an extraction now! Dixon (over comms): We're at a secondary route. We're 60 seconds out. Sydney: I don't have 60 seconds. I'll meet you at the LZ; I'm going.

Sydney starts running full tilt down the alleyway in the opposite direction of the police cars. Suddenly another police car speeds into the alley. Sydney stops, turns and runs the other direction, but the car quickly catches up and cuts her off. She gasps as the door to the police car opens...to reveal Jack.

Jack: Sydney, get in.

Sydney just glares at him.

Jack: Get in now! You can be stubborn later!

She gets in.

Jack: Outrigger, this is Raptor. I have Phoenix, heading to rendevoux. Sydney: What are you doing!? Jack: You know what typically works in a situation like this? A simple thank you. Get down.

Syd glares at Jack and then ducks her head down as Jack drives away.

CUT TO BLACK.

LOS (A)NGELES

Cut to daytime establishing shot of skyline via helicopter. Cut to Sydney and Vaughn walking down the hallway side by side, talking. Watching them is Jack and Sloane.

Sloane (noting the look on Jack's face): You didn't tell her, did you? The truth.

Syd and Vaughn have stopped walking now and are talking in the middle of the hallway in the distance. Jack turns to face Sloane and says:

Jack: I told her I was responsible for the death of her mother. Sloane: Did you tell her everything? Jack: She's better off not knowing...everything. Sloane: Tough call, Jack. Jack: Better that she detests me. I fear the alternative would have left her incapacitated.

They both turn to study Sydney again, but when Jack's head is turned, Sloane turns his eyes to study Jack instead.

CUT TO BLACK.

B®USSELS

Cut to a brick mansion, surrounded by a beautiful courtyard.

A bald man sits with his back to Dixon. He doesn't even look up from his work when he says:

Man: I assume you have something to sell? Dixon (with a vague South African or Dutch accent): I have the Shintaro sword.

Man looks up and smiles, obviously impressed.

Man: Herr Vogel, you never cease to astound me.

Man turns to face a proudly serene Dixon.

Man: An inside job, no doubt...yes?

Dixon doesn't answer. The man smiles.

Man: No matter. People on the street are impressed; an incredible job. Dixon: My friends are good at what they do. Man: Let me make a few calls.

Cut to Dixon, leaving the mansion. On telephone to Sloane:

Dixon: It's done. Sloane: Good work Head home.

Sloane walks over to Sydney's desk and leans over her.

Sloane: Dixon set the sword in play. We can expect to hear from Tamazaki within hours.

Sloane starts to walk away, but then he puts a hand on Sydney shoulder, his thumb rubbing in what's supposed to seem soothing, but from him, makes Sydney's skin crawl.

Sloane: It's good isn't it? Having the team back together...

He smiles, pats her shoulder and then walks off while Sydney is left to ponder the truth in his statement. Cut to Marshall in his gadget office. Sydney walks in.

Marshall: Yeah. Sydney: Martinez was partners with Nadia Santos. Marshall: Your sister!? Sydney: Half sister. Marshall: Well, he was the only one who ever saw Vadik alive...at least on our side. Sydney: He wasn't transmitting, was he, when he was captured?

Cut to a prison. Jack and Marshall sit on one side of a grate as a prisoner is brought in to see them. It is the goon that Vaughn took down on the train.

Jack: I'll make you a deal; you cooperate with us...That's it. Man: You don't frighten me. Jack: Then, clearly you're an idiot.

There is a pause as Jack lets that sink in.

Jack: The man you were working for on the train: Tomazaki...he referred to his boss, Mr. Vadik, but we ran voice prints. Marshall: An agent was killed last year by Vadik. But his voice...you know, the killer...it matches perfectly with the man on the train...Tomazaki. Jack:...which means Vadik trusts Tomazaki enough to front for him; act on his behalf. Simple deduction says that if Tomazaki trusts you; you've seen Vadik.

Man looks down, but doesn't answer.

Jack: Where do we find Vadik.

Man looks back up at Jack and meets his eyes.

Man: I'll need Protective Services for this... Jack: You help us, and you have my word. (Pause) Vadik... Man: You are at him. Vadik is Tomazaki. There is no Vadik. It's cover. He made him up. There's no Vadik.

Cut to Jack at APO.

Jack: If Vadik doesn't exist at all., if it's actually Tomazaki whose in charge...we need a new game plan.

The telephone rings. The scene cuts back so we can see the whole APO team minus Dixon at a conference table. Sloane answers the call and puts it on speakerphone.

Sloane: Yes. Dixon: Tomazaki took the bait. We're set for a Wednesday meet. Rio de Janeiro. He insists that the woman who stole the sword make the delivery. Apparently he has access to police files; he was intruiged. Jack: What about back up? Dixon: She's allowed one addition. Sloane: Good. Jack you'll escort Sydney with the sword. Vaughn, Marshall...you'll support Dixon. I want a plan by 1800.

Sloane starts to walk away.

Sydney: Excuse me...I prefer Dixon as my partner.

This gets a look across the table from Jack.

Sydney: I'm sure you're aware of our experience together in the field. That shorthand could be important. Sloane: I've already made my assignments.

Sydney looks away, not happy.

CUT TO BLACK

RIO DE (J)ANEIRO

Daytime establishing shot of Rio from above. Cut to the team in a safe house preparing for the mission. Vaughn approaches Sydney as she's packing up the sword.

Vaughn: You good? Sydney: Yeah. Vaughn: As soon as Tomazaki makes contact, we'll ID and take out any back up he's got...then we'll move in, grab him, get on a plane.

Sydney looks worried as she puts on her sunglasses, as if she has a feeling its not going to go quite that easily.

Cut to a fountain in a park. Camera pans over to an nondescript van in parking lot. Cut to inside where Marshall and Dixon are.

Cut to Vaughn, dressed in white T shirt and sleeveless shirt and ski cap (homeless person perhaps?). He looks over his shoulder at Sydney and Jack, sitting on the lip of the fountain.

Jack (over comms): Copy that, Outrigger.

Sydney and Jack sit in silence. Sydney won't even look at Jack.

Jack (giving Sydney a pointed look): This is the best conversation we've had in weeks.

A payphone near them rings. The two of them stand.

Sydney: Merlin, patch this call through my earpiece to the rest of the team. Marshall: Okay, Phoenix, you are hot...and I mean that in many ways. Shotgun you're in on the call. Sydney (into phone): Hello. Tomazaki: Look across the square. You'll see a tunnel. It will take you to the belly of the Alvais building. Go to the tenth floor. No backup. No guns. Just the sword. Meet me in three minutes or it's off. Vaughn: Merlin, the Alvais building... Marshall: Now, listen, this building was converted into a bank last year. Shotgun, you're going to have to look the part. Vaughn: Okay, we've got wardrobe. Let's do it.

From Sydney's vantage point at the phone, she spies Vaughn get up and run off. She walks over to Jack and says:

Sydney: I'm going in...alone.

As she walks off, he says into his comms:

Jack: I assume you all heard that.

Sydney starts walking into the tunnel.

Sydney: Starting through the tunnel.

Cut to Vaughn, now dressed in a three piece suit with tie, running up to the elevator to wait for Sydney.

Vaughn: Phoenix, meet me at the elevators before you go up. Sydney: See you at the elevator.

Marshall: Okay, now that tunnel was reinforced after the earthquake of '44...we're probably going to lose comms until...

Sydney's comm is now static. Cut to Dixon and Marshalls' reaction. Cut to Sydney in a parking garage. Some of the lights flicker ominously. Cut to Vaughn waiting at the elevator.

Dixon: Shotgun, we've temporarily lost contact with Phoenix.

Vaughn looks around worried and then gasps, starting to walk off toward where Sydney should be coming from:

Vaughn: Merlin, tell me there's a tenth floor in this building.

Marshall looks at some paperwork and looks worried, too.

Marshall: Guys...

Cut to Sydney, still walking. She's come to the end of the tunnel. There's no access point to the lobby the way there's supposed to be. She immediately whips out the sword, checking her surroundings. Cut to Vaughn in a dead run through the lobby to get to the parking garage below. Cut to Sydney, still edging around, sword in hand. The lights start to flicker again as she continues to walk forward. Cut to Jack, running up the tunnel. He comes to the discarded case that had held the sword. Cut back to Sydney. The lights flicker once more before going out. In the darkness, she hears Tomazaki's voice:

Tomazaki: Hello, Sydney Bristow.

Sydney looks around and around, but cannot determine where the voice is coming from. She creeps forward. Then suddenly, Tomazaki drops from overhead, putting her in a headlock from behind.

Cut to Vaughn, gun drawn, entering the garage. He runs forward and around the corner...to face Jack, running with his gun drawn from the opposite direction. Sydney and Tomazaki are gone.

CUT TO BLACK

Cut to skyline view of LA by helicopter, daytime.

Sloane (speaking to team in Rio via phone): If Tomazaki wanted to kill Sydney, we're already too late. The only assumption we can work on practically is that Sydney is alive and that Tomazaki has some need for her. So, where is she?

Cut to team sitting around phone in Rio safe house.

Dixon: Rio was Tomazaki's call...not mine. It's his turf. Jack: Meaning he most likely has some sort of base here...satellite office, maybe. Sloane: Marshall, does Tomazaki's file indicate property holdings? Marshall: Nothing. Nothing in Rio...nothing anywhere in Brazil. Vaughn: We know someone with intel; the agent that led us to Tomazaki in the first place. Sloane: Well, my daughter has refused to cooperate. Jack: She gave Sydney Tomazaki's name. If she were apprised of the situation, she might help. Vaughn: Well, I'll make her help. Where is she?

Cut to Nadia walking down a set of stairs outside a city building (presumably in Argentina).

Nadia (answering phone): Hola?

Cut to Vaughn, talking to Nadia from the safe house in Rio.

Vaughn: This is Michael Vaughn; I'm in Rio.

Cut to Nadia as she slows her descent of the stairs and then stops.

Vaughn (over phone): Sydney's in trouble. Nadia: Is it Vadik?

Cut to Vaughn.

Vaughn: Vadik and Tomazaki are the same person.

Cut to Nadia's reaction.

Vaughn (over phone): Look, we don't know if Sydney's still alive, but if she is...

Cut to Vaughn:

Vaughn: ...you're our only hope.

Cut to Nadia, pausing, clearly torn. Cut back to Vaughn, looking determined and almost desperate.

Vaughn: Nadia, please...

Cut to Nadia.

Nadia: Tomazaki used to run an operation near the Catalama del Puertana. Vaughn: Okay...I'll need details.

Cut to a pipe near a ceiling, dripping with condensation. Cut to a drainage grate in a dirty concrete floor. Cut to a table with torture devices on it. Cut to Sydney, just awakening, strapped in a torture chair. Looking over, she sees a long snake tattoo on Tomazaki's arm.

Tomazaki: Sydney Bristow...what happened to the deal?

Cut to Sydney, eyeing Tomazaki. She has a large abrasion on the left side of her forehead.

Sydney (confused): What?

Tomazaki leans way in near her face, near her ear.

Tomazaki: What. Happened. To. The. Deal?

Tomazaki looks back for reaction from Sydney, but we can see that Sydney is still confused.

Tomazaki: Before you leave this room...you will tell me why. Sydney: I might. I'm relatively open-minded...but in this case I have no idea what the hell you're talking about. Tomazaki: Have you eaten breakfast? Sydney(sarcastic): Why, you wanna grab something? Tomazaki: You probably ate breakfast.

Sydney looks down but doesn't answer. Tomazaki is wearing the "cat who ate the canary" look again like he had on the train.

Tomazaki: Just in case... We'll wait.

And then he walks away, leaving Sydney strapped to the chair.

Cut to a pair of strappy red heels. The camera pans up shapely bare legs, a white mini skirt, a black spaghetti tank, brown flowing hair...walking with that famous Bristow/Derevko swagger. It's Nadia, dressed to thrill and obviously now in on the mission. Shots of her "prey" entering the room, show that we are in a meat packing plant. The "target" is a man in his late 20's dark flowing hair, gold chain, black shirt under blazer, sunglasses...obviously he thinks he's "all that". Cut back to Nadia applying bright red lipstick as she approaches him. She rounds the corner and puts on her brightest "Come hither" smile when the man notices her.

Man: Alana...you're here. (in Portuguese) It's been three months. What happened to you? Nadia (with a flirtatious smile): It took longer than I thought to find your birthday present.

Cut back to Sydney as she is trying in vain to remove her left wrist from a shackle. Tomazaki and a henchman return. She stops fidgeting. Tomazaki stands in front of her, then reaches behind him and pulls a small water hose down from the ceiling. His henchman takes the hose and attaches it to a snorkeling mask.

Tomazaki: I saw you...standing in the park. I was looking for the woman who stole the Shintaro and...then I saw you. This wasn't about the sword... Somehow you found out...about the hit. Which means you must know why you were spared. Why the job went away.

Sydney gives a small glance at the henchman standing beside her. The henchman looks at Tomazaki, who gives a minute nod. The henchman shoves the snorkel mask over Sydney's face while she struggles. Then Tomazaki pulls on a chain next to him, and Sydney's face floods with water, which would effectivly drown her where she sat. As she struggles, we:

CUT TO BLACK

The henchman rips the mask off of Sydney's face as she gasps and coughs. Tomazaki gives her a moment to recover.

Sydney: I told you... I don't know about any hit.

Tomazaki nods again and the henchman puts the mask back on Sydney as she catches a deep breath. Again, water floods the mask.

Tomazaki: You wouldn't be here if you didn't know about the contract!

A moment later, the henchman removes the mask again. Sydney spits out a mouthful of water and gasps,

Sydney: What contract?

As Sydney coughs, Tomazaki studies her face again. We see Sydney is frightened...that she honestly doesn't know what he's talking about.

Tomazaki: The contract I had...on your life.

Cut to Sydney's reaction.

Sydney: You were hired to kill me? Who hired you? Tomazaki (with tilt of his head as if saying "tsk tsk tsk"): Sydney... Assassin/Client privilege. (pause, then) The day before the job, my client was killed. Most unfortunate. Sydney: I swear to God, I don't know anything about this.

Tomazaki puts his hand on his face, tapping a finger against his lips in thought, studying her. Finally, he concludes with a small laugh,

Tomazaki: Somehow I believe you. I guess...this was just one of those coincidences... Sydney: Guess I can just sell you the sword and go home... Tomazaki (with a smile): I'll just...take the sword... How's that?

Tomazaki nods to the henchman again as Sydney gives Tomazaki a death look. Tomazaki pulls the chain, flooding Sydney's mask as he walks away.

Cut to Nadia, shoving her prey up against a wall and pressing herself against him. She practically attacks his lips, devouring them as the camera cuts back so we can see we are inside the man's office. Nadia says something to the man in Portuguese, and then suddenly the man goes limp and slides down the wall. As Nadia pulls the coating of "lipstick" from her lips, Marshall says,

Marshall: So, Nadia...the tranquilizer lips... Do you think it was too red? Jack: Does Jorge have the key card?

Cut to Nadia pulling the key card from Jorge's blazer pocket.

Nadia: Got it.

She runs across the room, pulls a painting of a cow off the wall and puts the key card into an access slot. A hidden door pops open. As she starts to access the hidden area, she says,

Nadia: I'm in.

Cut to Sydney, still struggling not to drown in the mask, with the henchman watching over her. We can see Nadia coming up behind the henchman. Nadia wraps the hose around the henchman's neck, then she grabs a torture instrument from the table and hits him with it, knocking him out. She rushes over to Sydney and pulls the mask from her face. As Sydney chokes and coughs badly, Nadia says,

Nadia turns in time to duck Tomazaki's blow. She fights him off for a moment before he overpowers her, punching her in the face and knocking her down. Sydney is unlocking her leg restraints as Tomazaki approaches her, but before he can reach her, we hear in the distance,

Jack: Sydney!

Tomazaki turns and runs. Cut to Jack, Vaughn, and Dixon running down the hallway leading to the torture room. Cut to Sydney, checking on Nadia, who is again consciousl Cut back to the threesome as they run. Cut to Nadia, running toward them.

Jack: Where's Sydney? Nadia: She went that way.

They all run down a dark hallway reminiscent of the bowels of SD-6.

Cut to a meat packing room. Carcasses hang from the ceiling. Sydney cautiously enters the room, searching for Tomazaki. She slowly winds around the carcasses, when suddenly a blade pierces the one she's standing in front of, just missing her. She wheels backward as Tomazaki approaches evading his blade. As she reaches for a hammer on the counter, Tomazaki blocks her reach with the blade.

Tomazaki: I was told you were good.

She shoves him aside and grabs the hammer, using it for one swing before it's knocked away. She evades him and grabs a ceiling pipe using it to swing both her feet into his chest, knocking him backward. She grabs a meat hook and uses it to counter as she evades the sword. Tomazaki kicks her, twice, and she falls backward against a meat counter, where she finds another meat hook. Using them like sais, she goes on the offensive as he blocks with the blade until she kicks him in the stomach. He charges her, swinging the sword like a samarai. Sydney swings her meat hooks in time with his swings to block any possible blows. His first strike she deflects into a carcass. The second blow, she blocks with the two meat hooks, which she then uses as levers to quickly spin the blade around in his hand and she spears him with it. We see the point sticking several inches out of his back, causing his shirt to tent up. He slowly kneels in pain. Sydney kneels beside him, her face determined.

Sydney: Who hired you?

Tomazaki looks up at her and smiles as if impressed with her besting him before he lets out another groan.

Tomazaki falls to the side. We hear his body clatter to the ground as the camera focuses in on Sydney's face, shocked, stunned, betrayed.

CUT TO BLACK

Sloane (voice over of black screen): Congratulations.

Camera pans. We now can tell the "black" was Sloane's back. As the camera pans upward, we see that six people stand in front of Sloane in his office: Jack, Dixon, Vaughn, Sydney, Marshall...and Nadia.

Sloane: We recovered the isotope. We eliminated a dangerous enemy. And the British Government is most grateful for American assistance in returning the Shintaro sword. I would also like to announce that...Nadia has accepted my offer to join APO. I know she can rely on your full support in the days and weeks ahead. So...that's it. Go home. Feel good about what you've done.

Camera focuses on Sydney's face. She looks vaguely sickened, as if suddenly she remembered all the times in the past that Sloane said that when she worked for SD-6. Sloane captures her gaze and holds it, almost in challenge. Finally, she turns and walks away.

Jack walks into Sydney's office and shuts the door.

Jack (tentatively): How did you...find out? Sydney: Tomazaki. He had the contract.

Jack walks toward her, his face full of regret and empathy for what he believes Sydney must be going through. He looks like he wants to say "I'm sorry..." but he doesn't.

Sydney: You didn't know? Jack: I merely knew your mother had hired someone; I didn't know who. I had only one way to stop him. Sydney: Why would she want me dead? Jack: I don't know.

Sydney registers this, fully taking in the scenario. She's upset, almost fragile in her sadness.

Jack leans in as if to embrace her, but Sydney puts up her hands with a teary smile. Jack stops, pained.

Sydney (in a painful whisper): I'll see you tomorrow.

She walks away, leaving Jack to stare after her.

Cue "The Wind" by Cat Stevens. Cut to Sydney, walking toward the main entrance of APO, buttoning up her coat. She looks as if she's moments away from crying, just barely holding herself back. She slouches her hands into her pockets and walks with her shoulder hunched. As the door opens in front of her, she slows. Cut to her face as she starts to break down, putting a hand over her mouth so that no one will hear. She holds a hand over her forehead and eyes as the first gasps come out. Behind her, she hears,

Vaughn: Syd.

She straightens up suddenly upon hearing his voice, and tries to put herself quickly back together before she turns around. Vaughn looks at her, obviously concerned for her. She sniffs and gives and embarrasses smile as she tries to wipe the traces of moisture from her face.

Vaughn: You okay?

Sydney: Yeah. (she has to pause to clear her throat)

She looks at him, trying to put her "everything's okay" mask into place...but she can't quite do it.

Sydney: Um...

She can't help it; she starts to break down again. Vaughn doesn't hesitate; he just steps forward and pulls her into his embrace as she lets tiny sobs escape. Cut to close up of Vaughn's face as he holds her, and then to Sydney, her arms firmly wrapped around Vaughn's back as she tucks her face into his shoulder. She looks up, slightly more in control now.

Sydney (whispering): Thank you...

We see Vaughn nod his head a little, but doesn't say anything. The camera pans back, showing us Vaughn and Sydney near the door to APO, just holding each other, her arms around his back.

Fade to coastline aerial shot, daytime. Cut to Weiss and Sydney in Sydney's kitchen while she prepares a salad. Weiss is stealing pieces of it and eating them.

Weiss: I...I just don't see it. You...working in a bank!? Come on...what kind of job is that? Cashing checks, and making change...'Excuse me, next in line please?' Sydney (giggling): I'm a loan officer. I travel...service accounts. Weiss (in half-disbelief): Wait a minute...that cover job you had for SD-6!? Sydney: I happen to be good at it. Weiss (with kidding sarcasm): Great! That's stimulating stuff! Watching someone else's cash...Seriously, since you left the spy biz...you are a bore! Sydney: It's an adjustment is all. Are you sure you don't wanna stay for dinner?

Nadia: Is this a bad time? Sydney: Not at all. Nadia, this is Eric. He was just leaving... Weiss (protesting): No, no, no...I can stay.

Sydney pointedly waves at Eric.

Weiss: ...or go. Nice to meet you. Nadia: You, too. (to Sydney) Hey.

Sydney: What's goin' on? Nadia: I just couldn't wait...even until tomorrow. I was...hoping we could talk about our mother.

Sydney looks off for a moment, and then looks back at Nadia.

Sydney: Did you bring your passport?

Fade to establishing daytime shot of Moscow. Fade to Sydney and Nadia walking down a hallway.

Sydney (voiceover): Our mother was killed. I found her body in a state medical facility. I identified her, paid for her release, made arrangements with a mausoleum three blocks from where she was born. I thought she'd want it that way.

At the mausoleum, Nadia puts her hand over Irina's wall marker, tears in her eyes.

Nadia: And you have no idea....who's responsible...who killed her?

Sydney pauses, and then,

Sydney: No. Nadia: I swear to God...somehow, I will find out who did this to our mother... and I will kill him. I will.